#steelydan
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New Steely Dan shirts, hand screen printed by yours truly :^)
( available on my shop, yowcho.com )
#jimmy knives#yowcho#steely dan#steelydan#mickey mouse#minnie mouse#bootleg#bootleg tees#dirty work#can't buy a thrill
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What're you listenin' to these days?
#33rpm#buddyandjuliemiller#davealvin#hifi#lp#music#nowplaying#nowspinning#records#recordcollection#rockandroll#steelydan#talkingheads#turnitup#vinyl#vinylcollection#vinylcollectionpost#vinylcommunity#vinyllove#vinylporn#vinyltx
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The Studio
“Hey Nineteen” (1980)
Steely Dan
MCA Records
(Written by Walter Becker and Donald Fagen)
Highest U.S. Billboard Chart Position – No. 10
"From noon till six we'd play the tune over and over and over again, nailing each part. We'd go to dinner and come back and start recording. They made everybody play like their life depended on it. But they weren't gonna keep anything anyone else played that night, no matter how tight it was. All they were going for was the drum track.”
- Jeff Porcaro, Musician
Like a python wrapping itself around the beating heart of Rock and roll more and more tightly, this was the last charting single for the last album in Steely Dan’s classic period (it would be 20 years until they would release another album, Two Against Nature, in 2000). The stories of their recording methods reinforce this metaphor: what was once a real touring band of musicians had whittled itself down to just Becker and Fagen rehearsing the best artists in the world over and over and over again to achieve an exactness and fidelity that has never really been matched. I remember “Hey Nineteen” charting in 1980; it was right there on the radio beside Blondie’s “Call Me” and Olivia Newton-John’s “Magic”, playing nice but certainly not fitting in. They played it over and over again, a kind of spiritless meditation on something my teenage brain could never parse (The Cuervo Gold? The Fine Columbian?). Even today it is the kind of song one can never get to the center of, the smoothest track in the middle of the road: slick, perfect, and eternal. Like all of their hits it stuck around to sell a lot of copies but never really went to the top of the charts (one of the most successful bands ever to have never achieved a No. 1 anything).
Today some folks call this Yacht Rock (a term I mildly dislike as generic) which is ironic considering it is hard to imagine these two city slickers anywhere near a boat, or even in the wild. I can only ever see them in the studio playing mad scientist with the idea of fidelity. This much I know: I have a decent turntable setup and nothing touches Gaucho for sound quality—1979 is at the top of the top for the old idea of a great studio record. The only vinyl record that may top it is Fleetwood Mac’s Tusk or Dan’s own Gaucho. This is the result of all that squeezing: what starting out at a very high level with Can’t Buy a Thrill (their debut in 1972) only got more and more refined with every album. By the time one gets to Gaucho (after the lush but boozy hangover and strung-out feeling of Aja) there is a kind of plateau-ing, a linear quality, to all of the rehearsing and perfecting and playing every note until it almost fails to exist. Don’t get me wrong, this is a record I love—but at a distance, because it was constructed to keep you there.
There are so many legends surrounding the LP: that it was (up to that point) the most expensive ever made (over a million 1979 dollars); that it was heavily delayed by the band’s perfectionism (it took well over a year to record); that is was surrounded by tragedy and drug use (a terrible car accident for Becker, 6 months of hospitalization, his heroin addiction, and the death of his girlfriend). The hyper focus of Fagen and Becker, rehearsing musicians to exhaustion to get every note perfect, included their famous engineer Roger Nichols (formerly a nuclear physicist!) who was given $150,000 of the budget to create a computer that could process the live drum sounds for them to manipulate exactingly (he named it Wendel and the RIAA bestowed the machine its own framed, platinum copy of Gaucho in acknowledgement). There was the three-way legal battle between MCA, Warner Brothers and Steely Dan to actually release the thing (their original label, ABC Records, had been acquired by MCA). Lastly there was the sign of the times in the new “Premium Pricing” by MCA, a hike in album prices from $8.98 to $9.98 for the more expensively-produced records (I guess) which included Tom Petty & The Heartbreakers Hard Promises and the soundtrack for Xanadu, although I am not sure it ever went into effect after a lot of bad press. One legend that seems plainly true is that this year was one of the last for huge, expensive, lavishly-produced studio records. Like the old Hollywood system, it simply could not hold any more, and something leaner was right around the corner; if not inevitable, then necessary to move the art form forward.
Maybe this is the reason that “Hey Nineteen” sounded so anachronistic that year: it was by then a hologram from that ever-distant land of the 70s long player, richly produced, genre-defying, Empyrean, graceful. Go on to an internet message board or read any history of Steely Dan and you will find there the endless jabber about their relative goodness or badness in the great cause of Rock Music, by jazzing it up, or slimming it down, or mellowing it out, or squeezing it too hard in rehearsals (Gaucho is deliciously given one star by Dave Marsh in The Rolling Stone Record Guide, 1983) but trust me: pay them no mind. Just drop the needle, rejoice in the cleanest sound in stereo ever attempted by anyone anywhere, and spend time with some of the best musicians who have ever lived.
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Roger Nichols, after being with the band as a peerless sound engineer for over 30 years (and on all of their 7 classic-period albums), was unceremoniously let go during the middle of recording of Everything Must Go, right after the disaster of 9-11. His wife Connie described it as an “emotional dagger to his heart and soul” and him as heartbroken. No definitive reason seems to be well known. Nichols sadly passed away in 2011 of pancreatic cancer at the age of 66.
Right before the pandemic Connie found a clear cassette in Nichols’ things marked “The Second Arr” in black Sharpie pen (she had never had the heart to throw away anything with his handwriting on it). This turned out to be a copy of a very famous lost master track from Gaucho, “The Second Arrangement”, which after months of recording and $80,000 invested, and complete, was accidentally taped over by a second engineer (whew - poor guy). This tape was from the night before that event. Fagen and Becker considered re-recording it, but being absolute perfectionists, they realized it was hopeless and moved on.
Connie Nichols waited out the pandemic to have the tape professionally converted, fearing it would fall apart. Later, another (even better) copy, a DAT tape, was discovered by her. It can be heard here (most clearly in the second post, clocking in at 5:46) from the substack Expanding Dan. It is rather wonderful.
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The brains behind Steely Dan, who put out their first record in 1972, the awesome “Can’t Buy A Thrill. They followed this up with a string of awesome records. They were very selective on who they got to play on their stuff. If you were a lead guitar player and made it onto a Steely Dan record, well..that’s saying something.
Donald Fagen is now 75 years old. Walter Becker passed away in 2017 from throat cancer.
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This album cover art is still as relevant today, if not more so, than back when the album was made.
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Steely Dan
Show Biz Kids b/w Razor Boy
1973 Probe
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* Long Live Rock Archive
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Continuing my week of posting albums turning 40 this year with two jazz-infused adult pop albums—#donaldfagen of #steelydan with The Nightfly, and the sublime Night & Day by #joejackson . Both deep albums if you dig in, but also comfortable just to ride the groove along the surface. Got a favorite from 1982? Send it along to @skymax.music.travel.style by Friday to join in #superfriendssunday this week! #vinyl #vinyladay #lp #vinyloftheday #vinyligclub #vinyljunkie #vinylcommunity #vinylcollective #instavinyl #vinylgram #recordcollector #nowspinning https://www.instagram.com/p/CivljtoOVc8/?igshid=NGJjMDIxMWI=
#donaldfagen#steelydan#joejackson#superfriendssunday#vinyl#vinyladay#lp#vinyloftheday#vinyligclub#vinyljunkie#vinylcommunity#vinylcollective#instavinyl#vinylgram#recordcollector#nowspinning
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When Black Friday Comes...
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Steely Dan - Aja
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This week in 1978: The film FM premiered.
Trailer
📽️ https://youtu.be/VWLoisEiTP0 📺
🎪
The original CIRCUS Magazine Official Website is👇
🖥️ https://www.circusrockmag.com/dynamic-library 📱
#FM#Boston#Eagles#FleetwoodMac#Foghat#Foreigner#BillyJoel#Queen#BobSeger#SteelyDan#JoeWalsh#JimmyBuffett#LindaRonstadt#ReoSpeedwagon#TomPetty#70s#RockMusic#movie#film#CIRCUSMagazine#CIRCUS#JosephWorley
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What're you listenin' to these days?
#33rpm#georgeharrison#hifi#littlefeat#lp#music#nowplaying#nowspinning#records#recordcollection#rockandroll#rollingstones#steelydan#turnitup#vinyl#vinylcollection#vinylcollectionpost#vinylcommunity#vinyllove#vinylporn#vinyltx
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The music world mourns the loss of Jim Beard, a talented keyboardist, composer, and educator who passed away at the age of 63 on Saturday, March 2nd, 2024, in New York City. A versatile musician who touched various genres, Beard is best known for his contributions to the legendary band Steely Dan and collaborations with jazz giants. A Prolific Career Marked by Collaboration and Innovation Born in Ridley Park, Pennsylvania, in 1960, Jim Beard's musical journey began early. After honing his skills at Indiana University, he embarked on a diverse career that saw him work with various artists across various genres. Early in his career, he performed with acts like Connie Stevens, Roger Miller, and Bobby Rydell, showcasing his adaptability and range. In 1985, Beard relocated to New York City, opening doors to a world of opportunities. He quickly established himself as a sought-after keyboardist, collaborating with jazz legends like Pat Metheny, Wayne Shorter, and John McLaughlin. His ability to seamlessly blend into different musical styles and contribute meaningfully to each project became his calling card. Joining Steely Dan and Achieving Recognition In 2008, Jim Beard's career reached a new milestone when he joined the iconic band Steely Dan as a touring keyboardist. He seamlessly integrated into the band's sound, contributing to their signature blend of jazz, rock, and pop. This association not only extended his reach to a wider audience but also provided him with a platform to showcase his talents on a global scale. He toured with Steely Dan until his untimely passing, with his last performance being on January 20th, 2024, in Phoenix, Arizona, as part of the Eagles' "Long Goodbye" tour. Beyond performing, Beard also ventured into other aspects of the music industry. He recorded six solo CDs between 1990 and 2013, showcasing his compositional and arranging skills. He also lent his talents to other artists' recordings, including Dizzy Gillespie, The Brecker Brothers, Dianne Reeves, Meshell Ndegeocello, and Steve Vai. This diverse portfolio further solidified his reputation as a versatile and accomplished musician. A Legacy of Music and Mentorship Jim Beard's impact extended beyond the stage and recording studio. He was also a dedicated educator, sharing his knowledge and passion for music with students at prestigious institutions like the Mason Gross School of Arts, Berklee College of Music, Aaron Copland School of Music, and the Sibelius Academy in Finland. His dedication to nurturing future generations of musicians remains an enduring part of his legacy. In addition to his solo work and collaborations, Beard's dedication to his craft earned him recognition from the music industry. He was awarded a Grammy Award in 2007 as a featured performer on the Randy and Michael Brecker album "Some Skunk Funk." Remembering a Musical Mastermind The passing of Jim Beard signifies a significant loss for the music world. He was not only a talented keyboardist and composer but also a dedicated educator and collaborator who touched countless lives throughout his career. His versatility, dedication, and passion for music continue to inspire musicians and music lovers alike. Jim Beard is survived by: His children, Victor and Caitlin His mother, Sarah His sister, Nancy His brother, Bill Tributes from the Music Industry: Pat Metheny, a close collaborator, described Jim as "one of the few people around whose insight into the past is complete enough to take him to the future, and with a highly refined and subtle musicality at work, he is one musician from whom I always await each new release with anticipation." FAQs: Q: When did Jim Beard die? A: Jim Beard passed away on March 2nd, 2024, at the age of 63. Q: What was Jim Beard known for? A: Jim Beard was known for his work as a keyboardist and composer, his membership in Steely Dan, his collaborations with jazz legends, and his solo career. Q: What awards did Jim Beard win? A: Jim Beard won a Grammy Award in 2007 as a featured performer on the album "Some Skunk Funk."
#collaborator#composer#educator#GrammyAward#jazz#JimBeard#JohnMcLaughlin#keyboardist#musician#PatMetheny#pop#RememberingJimBeard#rock#soloartist#SteelyDan#WayneShorter
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THE MIDNIGHT SPECIAL TV SHOW ON YOUTUBE REVIEW
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All Music Guide
#allmusicguide#jazz#blues#music#quotes#encyclopedia#jazzstyles#smoothjazz#georgebenson#yellowjackets#steelydan#kennyg#larrycarlton#spyrogyra#therippingtons#1970s#1980s#fusion#jazzrock#roncarter#wesmontgomery#musician#radio#friendly#cool#sounds#funk#groove#rock#pop
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Steely Dan
Everything Must Go
2003 Reprise
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Tracks:
1. The Last Mall
2. Things I Miss the Most
3. Blues Beach
4. Godwhacker
5. Slang of Ages
6. Green Book
7. Pixeleen
8. Lunch with Gina
9. Everything Must Go
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Walter Becker
Donald Fagen
* Long Live Rock Archive
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Last Seen Blogs
acraftedmistake
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Possibly there